In this thesis, the author will highlight the aspects of how video games transport a story to the player. To do so, she wants to give a short overview describing how the term of literature has developed. Literature is not restricted to written books only. People have always found new ways to tell their stories, and improve them. The author will also give a brief overview of how video games have been invented and how they have developed until today. The way people played video games has changed. Once a social gathering inarcades, video games have become an activity that is performed in private, at home. The advances in technology go together with the progress in developing video games. As computers grew stronger, more complex video games could be developed.
Table of Contents
1. Introduction
2. Theoretical Framework
2.1. The Term of Literature
2.2 A brief History of Video Games
2.3. Narrative Concepts
2.3.1. Act-structure
2.3.2. Chapters to structure story
2.3.3. The Geometric Design Structure
2.4. Ludology versus Narratology
3. Experience of Virtual Spaces
3.1. Interaction versus Narrative
3.2. Immersion and Player Involvement
3.3 Space and Time in Video Games
4. Conclusion
Objectives and Key Themes
This thesis examines the intersection of storytelling and interactive mechanics in video games, exploring how narrative is conveyed to the player. The core research focuses on identifying how classic literary and dramatic structures, such as the three-act structure and "The Hero’s Journey," are adapted to the unique medium of gaming while balancing interaction with narrative flow.
- The evolution of video games as a storytelling medium.
- Application of dramatic theories and narrative models in game design.
- The tension and balance between ludology and narratology.
- The psychological phenomenon of immersion and player involvement.
- Techniques of space and time manipulation in digital narratives.
Excerpt from the Book
2.3.1. Act-structure
When structuring a story, it is noticeable how almost all stories follow a dramatic structure. From the earliest dramas from ancient Greece, to Shakespeare's plays, until today's modern stories, the rules have not changed in regards to structuring the story a certain way so the audience will find it appealing. The most basic structure is the three-act-structure as described by Aelius Donatus in the fourth century. According to his structure, a story can be split into three parts: the incident, the midpoint and the climax. During the incident, the main character is established and an incident occurs. The main character might get a resolution for the problem in the midpoint but they can also lack skill to solve the problem yet. It is only solved in the climax. This three-act-structure is only suitable for very basic plot lines like a yes-or-no-question. (cf. Reedsy 2018)
To structure more complex stories, Gustav Freytag developed a five-act dramatic structure in 1863. It is called Freytag's Pyramid. The basis of his structure is still the three-act-structure, but there is more development.
Chapter Summaries
1. Introduction: Outlines the shift in storytelling media and establishes the thesis goal of exploring how video games transport narratives to players.
2. Theoretical Framework: Provides an overview of literature definitions, the history of video games, narrative concepts like the act-structure, and the scholarly debate between ludology and narratology.
3. Experience of Virtual Spaces: Deepens the analysis of narrative and interaction, examining immersion models, player involvement, and the unique manipulation of space and time in game environments.
4. Conclusion: Synthesizes the findings, confirming that while video games are a distinct medium, they successfully integrate storytelling techniques with interactive elements to create unique immersive experiences.
Keywords
Video Games, Storytelling, Immersion, Narrative, Ludology, Narratology, Interaction, Gameplay, Game Design, Freytag's Pyramid, The Hero's Journey, Cybertext, Interactive Fiction, Virtual Spaces, Player Involvement.
Frequently Asked Questions
What is the fundamental focus of this thesis?
The work explores how storytelling is integrated into video games and how these games function as a narrative medium compared to traditional literature and film.
What are the primary thematic fields covered?
The study covers narrative structures, game history, the debate between ludologists and narratologists, the psychology of immersion, and spatial/temporal design in games.
What is the main objective of the research?
The objective is to understand how video games transport stories to players through a balance of interactive mechanics and established narrative models.
Which scientific methods are employed?
The author uses a literature-based theoretical approach, analyzing existing narrative theories and applying them to case studies of specific video games.
What topics are discussed in the main body?
The main body examines dramatic structures (act-structure), character arcs, interactive design frameworks, the role of cut-scenes, and models of immersion (Brown/Cairns).
Which keywords best characterize this work?
Key concepts include immersion, ludology, narratology, gameplay, and interactive narrative design.
How does the game Journey exemplify the author's argument?
Journey is highlighted as a prime example of a game that successfully conveys a complex narrative and emotional journey using only interaction, without relying on text or dialogue.
What conclusion does the author reach regarding the "ludology vs. narratology" debate?
The author concludes that interaction and narrative are not mutually exclusive but are deeply connected, arguing that games serve as a unique medium that combines both to create immersive experiences.
- Arbeit zitieren
- Melitta Reinerth (Autor:in), 2021, Storytelling in Video Games. Aspects of Immersion, München, GRIN Verlag, https://www.grin.com/document/1024815
